So this is apparently what Justin Vernon has been getting up to when he hasn't been going around acting like a Grown Ass Man with his new-old band The Shouting Matches: he's reunited with erstwhile collaborator Colin Stetson, a Michigan-based multi-reedist who specialises in bass saxophone, but has been known to play clarinet, flute and French horn (among other things). Vernon's returning the favour after Stetson worked with him on his second (and for now, his last) album as Bon Iver, but it's not strictly a collaborative record. Indeed, Vernon may well have overshadowed Stetson if the two had teamed up for the third entry in the latter's New History Warfare series of albums, but he makes an appearance on only four of the record's 11 tracks. This is still very much the Colin Stetson Show - the only difference being that he now has an even bigger audience, an audience which will be split down the middle by an album as experimental as this.

More people are keeping an eye on Stetson after NHW Vol. 2: Judges was shortlisted for the prestigious Polaris Music Prize in Canada two years ago, and may yet see similar success with its follow-up. The title track is the best place to start with To See More Light, pitting Stetson's accessible side against his more experimental one in a colossal battle of wits; the first half of the 15-minute track is given over to a stunning melody that, at times, sounds like it's being played on synths rather than reed instruments, while the second part is much looser and almost free-form, but it's anything but directionless; it may sound as such to some, but it takes real skill to take something so abstract and give it form. Stetson sometimes blurs the lines between electronic and acoustic instruments, and 'Brute' is an IDM/noise hybrid that wouldn't have sounded out of place on the latest Autechre album, aided by the addition of frenetic rhythms and constant changes of meter.

Vernon gets his time to shine, of course, with the multi-tracked, harmonised intro to 'What Are They Doing in Heaven Today?' one of the album's goosebump-inducing moments, backed by Stetson's fluttering reed work - it's an unlikely match that manages to work wonderfully. Stetson is a fine composer, the use of rushing semiquavers and lightning-fast triplets - which he employs in several places - giving his music a restless energy. When he slows things down a little, as he does on the penultimate track 'This Bed of Shattered Bone' his mastery of his various instruments becomes clear, the ethereal-sounding music becoming almost otherworldly thanks to Vernon's cooing. It's left to 'Part of Me Apart From You' to finish the album, and it does so with an unlikely marriage of abstract technicality and pop savvy that will leave listeners quite surprised. My advice is to go into To See More Light with an open mind; I'd seen Stetson's music defined far too broadly as 'jazz' before, and it put me off back then, but his new record is a fascinating listen that's worth anyone's time.